Rote piano teaching seems to be experiencing a resurgence.
But what does it mean to teach by rote?
Webster’s has two definitions for the word.
- “The use of memory usually with little intelligence.”
- “Mechanical or unthinking routine or repetition.”
I don’t really appreciate the first definition…
Little intelligence?
I guess Webster is trying to say that there’s no formal process for solving a problem such as an algebraic formula or the scientific method.
But it sounds demeaning!
The reality is that this method of learning is an excellent way for students to quickly discover musical patterns and develop their ear.
The following is a quote from the mid 20th-century Japanese violinist Shinichi Suzuki. I firmly believe his thought process.
The early years are crucial for developing mental processes and muscle coordination. Listening to music should begin at birth; formal training may begin at age three or four, but it is never too late to begin. Children learn words after hearing them spoken hundreds of times by others.
The primary concern among piano teachers in teaching the Suzuki method is that it takes so long to begin written notation.
So, why not adopt a hybrid approach? Why not teach music by rote and traditional notation at the same time?
There are several benefits to teaching by rote.
- It forces students to quickly identify musical patterns.
- It helps student’s ears develop more quickly.
- It helps students learn precise rhythm and correct fingering.
- It allows students to play more exciting music at an early age.
- It paves the way to excellent musicianship.
Alfred Schnittke is one of my favorite composers and musical thinkers.
Schnittke advocated that the future well-rounded musician would feel at home with various styles. In other words, she would play jazz, classical, pop, and other styles equally well.
Do you know any musicians that can masterfully play in different styles?
Chick Corea, Dave Brubeck, and Yo-Yo Ma come to mind.
So now that you have a good understanding of rote piano teaching and its many benefits, you may be asking, “what makes a good rote piece?”
Above all, patterns.
Music is all about patterns. Well-crafted music is full of familiar patterns to help listeners grasp the main themes and ideas.
Here are a few fantastic rote selections listed by Natalie Weber at the Music Matters Blog.
- A Day in the Jungle by Jon George
- Bumblebee Toccata by Lynn Freeman Olson
- Buzzing Bee by Mark Nevin
- Castle Days by Kathleen Massoud
- Cross Current by Ted Cooper
- Devil’s Night Dance by Catherine Rollin
- Dragon Hunt by Nancy and Randall Faber
- Dream Echoes by Nancy and Randall Faber
- The Fly by Nancy and Randall Faber
Candle in the Night, The Music Train, and Running in Circles are three excellent rote pieces that you can find in the PracticeHabits.co store.
I love what Amy Greer has to say about scouring for rote piano pieces on Tim Topham’s brilliant Creative Piano Teaching Podcast.
She says that a good rote piano piece is a piece that’s easier to teach by patterns than traditional notation. If it’s simpler to learn from the music, then it’s not an ideal rote piece.
I hope that you’ve found this article to be helpful and informative.
As always, thank you for your ongoing support of the PracticeHabits.co community. I appreciate you.
Your friend,
Chris